Download Full eBooks in PDF
La Muette De Portici Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of La Muette De Portici book. This book definitely worth reading, it is an incredibly well-written.
Author : Daniel François Esprit Auber
Publisher : Unknown
Page : 128 pages
File Size : 55,6 Mb
Release : 1800
Category : Electronic
ISBN : OCLC:1184196155
Author : Anonim
Publisher : Unknown
Page : 4 pages
File Size : 52,5 Mb
Release : 1873
Category : Electronic
ISBN : UOM:39015097812864
Author : Eugène Scribe,Germain Delavigne,Daniel François Esprit Auber
Publisher : Nabu Press
Page : 0 pages
File Size : 49,6 Mb
Release : 2014-02
Category : Electronic
ISBN : 1293575879
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ La Muette De Portici: Opéra En Cinq Actes Eugène Scribe, Germain Delavigne, Daniel François Esprit Auber A la librairie dramatique, 1829 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera
Author : Marian Smith
Publisher : Princeton University Press
Page : 330 pages
File Size : 43,7 Mb
Release : 2010-08-09
Category : Music
ISBN : 9781400832477
Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?
Author : David Charlton
Publisher : Cambridge University Press
Page : 524 pages
File Size : 49,9 Mb
Release : 2003-09-04
Category : Music
ISBN : 0521646839
Table of contents
Author : Daniel-François-Esprit Auber
Publisher : Unknown
Page : 10 pages
File Size : 52,5 Mb
Release : 1835
Category : Electronic
ISBN : BSB:BSB11150855
Author : Daniel-François-Esprit Auber
Publisher : Unknown
Page : 118 pages
File Size : 51,7 Mb
Release : 2024-05-23
Category : Electronic
ISBN : OCLC:165539691
Author : Anselm Gerhard
Publisher : University of Chicago Press
Page : 540 pages
File Size : 50,7 Mb
Release : 1998-08-15
Category : History
ISBN : 0226288579
Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviors worthy of psychoanalysis? Why are the legendary grands operas - much celebrated in their time - so seldom performed today?
Author : Sarah Hibberd
Publisher : Cambridge University Press
Page : 279 pages
File Size : 48,6 Mb
Release : 2009-04-30
Category : Music
ISBN : 9780521885621
Closely examining five French operas, this book reveals how and why grand opera sought to bring the past alive.
Author : D. F. E. Auber
Publisher : Cambridge Scholars Publishing
Page : 0 pages
File Size : 52,7 Mb
Release : 2011
Category : Operas
ISBN : 1443828653
Daniel-François-Esprit Auber (1782â "1871), the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first works were not a success, but La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. He then met the librettist Eugène Scribe (1791â "1861), with whom he developed a working partnership, one of the most successful in musical history, that lasted until Scribeâ (TM)s death. After Le Maçon (1825) and La Muette de Portici (1828), Auberâ (TM)s life was filled with success. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the LÃ(c)gion dâ (TM)Honneur. Auberâ (TM)s famous historical grand opera La Muette de Portici (also known by its heroâ (TM)s name as Masaniello) is a key work in operatic history. Auber himself experienced four French Revolutions (1789, 1830, 1848, 1870). The latter (The Commune) hastened the end of his life. He died on 12 May 1871, at the advanced old age of 89, and in the pitiful conditions of civil strife, after a long and painful illness which worsened during the Siege of Paris. He had refused to leave the city he had always loved despite the dangers and privation, even after his house had been set on fire by the petroleurs et petroleuses. By some irony a mark had been placed against the house of the composer of Masaniello, the very voice of Romantic liberty! Auberâ (TM)s overtures were once known everywhere, a staple of the light Classical repertoire. The influence of his gracious melodies and dance rhythms on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany, was overwhelming. The operas themselves, apart from Fra Diavolo (1830), have virtually passed out of the repertoire, since Auberâ (TM)s elegant and restrained art now has little appeal for the world of music, attuned as it is to the meatier substance of verismo, Wagnerian transcendentalism, and 20th-century experimentalism. La Muette de Portici, an opera in five acts, with libretto by Eugène Scribe and Germain Delavigne, was premiered at the AcadÃ(c)mie Royale de Musique (Salle de la rue Le Peletier) on 29 February 1828. The setting is Naples in 1647, against the historical background of the revolt led by the fisherman Tommaso Aniello (Masaniello) against Spanish rule. This work, of crucial importance for the genre of grand-opÃ(c)ra, or grandiose historical music drama, was one of the most successful of the 19th century, and became enveloped in a revolutionary mystique. This reputation took fire following a performance in Brussels on 25 August 1830 which sparked the uprising for Belgian independence from the Netherlands, and was further sustained by the events of 1848 when stagings of the opera caused tumult and demonstrations in several opera houses. La Muette de Portici is the first grand-opÃ(c)ra with all the typical characteristics of the genre: five short acts, most of which culminate in a dramatic and decorative tableau; ballets loosely connected with the action (in acts 1 and 3); stage sensation and mass groupings, with lavish use of dÃ(c)cor, costumes and machinery (the wedding procession, the busy marketplace and popular uprising, the eruption of Vesuvius), characteristic situations and their appropriate type of aria. There is a group of important leading roles, powerful and functional choruses, and a much expanded reliance on the orchestra. The music responds to, and reflects, the vivid and imposing scenic effects (based on historical and pictorial research by the great stage designers and painters Pierre-Luc-Charles CicÃ(c)ri and Louis-Jacques-MandÃ(c) Daguerre). The music is also remarkable for its melodic abundance, the excitement of its ensembles, the verve of its dances, and the power and variety of the choruses. The contrast between the two heroinesâ "Fenella, a mute peasant who expresses herself in gesture and dance in free-form balletic sequence; and Elvire, a glamorous princess who uses the full range of Italianate vocal genres and stylesâ "makes a series of innate dramatic and symbolic points about power and powerlessness, authenticity of emotion, and the nature of commitment. The two tenor roles have a similarly strong, if less vivid, contrast. The prince, Alphonse, comes across as weak and vacillating, whereas Masaniello, the fisherman, is a natural leader, a man among men, whose devotion to his people, to freedom, as well as to his pathetic broken sister, mark him out as hero. The roles were created by Adolphe Nourrit (Masaniello); Alexis Dupont (Alphonse); Laure Cinti-Damoreau (Elvire); Henri-Bernard Dabadie (Pietro) and PrÃ(c)vot (Borella); with Pouilley, Jean-Etienne-Auguste Massol, Ferdinand PrÃ(c)vot and Mlle Lorotte. The dancer Lise Noblet realized the role of Fenella. The opera was one of the greatest successes at the Paris OpÃ(c)ra, the 100th performance taking place on the 23 April 1840, the 500th on 14 June 1880. It was also successful in other countries, especially Germany. The work was translated into German, Hungarian, English, Italian, Czech, Dutch, Danish, Polish, Norwegian, Swedish, Croatian and Russian. This edition reproduces the vocal score published by E. Troupenas (c. 1828).
Author : Anonim
Publisher : Unknown
Page : 450 pages
File Size : 54,5 Mb
Release : 1826
Category : Music
ISBN : NYPL:33433068938038
Author : Mark Everist
Publisher : Taylor & Francis
Page : 464 pages
File Size : 41,5 Mb
Release : 2023-04-28
Category : History
ISBN : 9781000939125
Nineteenth-century Paris attracted foreign musicians like a magnet. The city boasted a range of theatres and of genres represented there, a wealth of libretti and source material for them, vocal, orchestral and choral resources, to say nothing of the set designs, scenery and costumes. All this contributed to an artistic environment that had musicians from Italian- and German-speaking states beating a path to the doors of the Académie Royale de Musique, Opéra-Comique, Théâtre Italien, Théâtre Royal de l'Odéon and Théâtre de la Renaissance. This book both tracks specific aspects of this culture, and examines stage music in Paris through the lens of one of its most important figures: Giacomo Meyerbeer. The early part of the book, which is organised chronologically, examines the institutional background to music drama in Paris in the nineteenth century, and introduces two of Meyerbeer's Italian operas that were of importance for his career in Paris. Meyerbeer's acculturation to Parisian theatrical mores is then examined, especially his moves from the Odéon and Opéra-Comique to the opera house where he eventually made his greatest impact - the Académie Royale de Musique; the shift from Opéra-Comique is then counterpointed by an examination of how an indigenous Parisian composer, Fromental Halévy, made exactly the same leap at more or less the same time. The book continues with the fates of other composers in Paris: Weber, Donizetti, Bellini and Wagner, but concludes with the final Parisian successes that Meyerbeer lived to see - his two opéras comiques.
Author : Robert Ignatius Letellier
Publisher : Cambridge Scholars Publishing
Page : 420 pages
File Size : 52,5 Mb
Release : 2010-10-12
Category : Music
ISBN : 9781443825979
Daniel-François-Esprit Auber (1782-1871), the composer of La Muette de Portici (1828) and Fra Diavolo (1830), was once regarded as one of the great figures of music, a staple of the operatic repertoire in France, and indeed around the world. It is now almost impossible to understand the extent of his once universal fame, his influence on contemporary composers. His operas were in the theatre repertories of the world until the 1920s, and innumerable arrangements of them were published and sold everywhere. The ubiquity of his overtures—Masaniello, Fra Diavolo, The Bronze Horse, The Black Domino, The Crown Diamonds—once as popular as those of Rossini and Suppé, and the influence of his melodies and dance rhythms on piano and instrumental music, and on Romantic comic opera, was overwhelming. In his operas Auber avoided any excess in dramatic expression; all emotion and expressiveness, any vivid depiction of local milieu, were realized within his discreetly nuanced tones, always stamped with a Parisian elegance. His operas were loved in his native France until the years before the First World War, with Fra Diavolo and Le Domino noir last performed at the Opéra-Comique in 1909. Auber’s career was a record of this success and appreciation. His appointment to the Institute (1829) was followed by other prestigious posts: as Director of Concerts at Court (1839), director of the Paris Conservatoire (1842), Musical Director of the Imperial Chapel (1852), and Grand Officer of the Légion d’Honneur (1861). During his lifetime, six biographies appeared contemporaneously, with another six appearing posthumously in the period up to 1914. In the late nineteenth and early twentieth centuries, however, reactions to Wagner, Impressionism and the Neo-Classicism of the Ballet Russe resulted in a growing lack of interest in the ancient traditions of opéra-comique, with its charming plots, melodic directness and rhythmic élan. Boieldieu, Hérold, Adam and Auber were relegated to the dustbin of history. Only in Germany did the genre continue to flourish; Auber’s most enduring work is still performed there. His death in pitiful conditions during the Siege of Paris (1871), in the city he always loved, marked the end of an era. Auber now occupies a shadowy niche in the general consciousness as the name of the metro station nearest the Palais Garnier, and remains unknown and neglected (apart of course from Fra Diavolo), although his impact on the nineteenth-century operatic theatre was just as great as Rossini’s. The time has surely come for Auber’s life and work, especially in association with his life-long collaborator Eugène Scribe (1791-1861)—master dramatist and supreme librettist, a determining force in the history of opera—to be reassessed. Perhaps then the world will begin to hear more of Auber’s elegant gracious, life-affirming music, written to Scribe’s words. The aim of the present study is to offer an overview of the life and work of Auber by close examination of his forty operas, with consideration of origins, casting, plot, analysis of dramaturgy and musical style, and reception history. This is presented in the context of Auber's relationship to the dominant genres of early nineteenth century French culture, opéra comique and grand opéra. The three evolving periods of Auber's unique involvement with opéra comique are of principal concern. This analysis of the operas is made in the context of Auber's crucial working relationship with Scribe, who provided 38 of his libretti. Their cooperation is unique and of great importance on several literary, musical and cultural levels. The nature of their interaction and personal friendship is assessed by a translation of the extant correspondence between them, some 80 letters that have not appeared in English before. The presentation of each opera is illustrated by musical examples from all the scores, prints from the complete works of Scribe and other theatrical memorabilia. The study also contains bibliographies of Auber’s works and their contemporary arrangements, studies of Auber’s and Scribe’s life and work, their artistic and historical milieux, and a discography.
Author : Dieter Borchmeyer
Publisher : Princeton University Press
Page : 430 pages
File Size : 48,5 Mb
Release : 2003-11-30
Category : Music
ISBN : 0691114978
Richard Wagner continues to be the most controversial artist in history, a perpetually troubling figure in our cultural consciousness. The unceasing debate over his works and their impact--for and against--is one reason why there has been no genuinely comprehensive modern account of his musical dramas until now. Dieter Borchmeyer's book is the first to present an overall picture of these musical dramas from the standpoint of literary and theatrical history. It extends from the composer's early works--still largely ignored--to the Ring Cycle and Parsifal, and includes Wagner's unfinished works and operas he never set to music. Through lively prose, we come to see Wagner as a librettist--and as a man of letters--rather than primarily as musical composer. Borchmeyer uncovers a vast field of cultural and historical cross-references in Wagner's works. In the first part of the book, he sets out in search of the various archetypal scenes, opening up the composer's dramatic workshop to the reader. He covers all of Wagner's operas, from early juvenilia to the canonical later works. The second part examines Wagner in relation to political figures including King Ludwig II and Bismarck, and, importantly, in light of critical reactions by literary giants--Thomas Mann, whom Borchmeyer calls "a guiding light in this exploration of the fields that Wagner tilled," and Nietzsche, whose appeal to "philology" is a key source of inspiration in attempts to grapple with Wagner's works. For more than twenty years, Borchmeyer has placed his scholarship at the service of the famed Bayreuth Festival. With this volume, he gives us a summation of decades of engagement with the phenomenon of Wagner and, at the same time, the result of an abiding critical passion for his works.
Author : Richard H. Bell
Publisher : Unknown
Page : 363 pages
File Size : 51,7 Mb
Release : 2020
Category : Music
ISBN : 9781498235747
(Vol 1.) Wagner's Ring is one of the greatest of all artworks of Western civilization, but what is it all about? The power and mystery of Wagner's creation was such that he himself felt he stood before his work "as though before some puzzle." A clue to the Ring's greatness lies in its multiple avenues of self-disclosure and the corresponding plethora of interpretations that over the years has granted ample scope for directors and will no doubt do so well into the distant future. One possible interpretation, which Richard Bell argues should be taken seriously, is the Ring as Christian theology. In this first of two volumes, Bell considers, among other things, how the composer's Christian interests may be detected in the "forging" of his Ring, looking at how he appropriated his sources (whether they be myths and sagas, writers, poets, or philosophers) and considering works composed around the same time, especially his Jesus of Nazareth. -- back cover.